Purple Noon (Blu-ray) Criterion Collection

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All Rise...

Judge Gordon Sullivan only prefers purple evenings.

The Charge

"A thrilling saga of seduction, identity theft, and murder."

Opening Statement

Patricia Highsmith is as American as apple pie. Born in Texas, she was raised
in New York City. She got her start as a writer for American comic
books—and yet, her novels have always had an appeal to European auteurs.
Her first book, Strangers on a Train, was famously adapted by Brit Alfred
Hitchcock, while her fourth, The Talented Mr. Ripley, was adapted by
French director René Clément as Purple Noon. Highsmith's
international intrigue, sharp psychological portraits, and stark violence
translate well to a director versed in the French Resistance during World War
II. It also gave a role to a beautiful young actor—Alain Delon—and
made him a star. Now Clément's classic adaptation has been released in a
fantastic hi-def Purple Noon (Blu-ray) edition from the folks at
Criterion.

Facts of the Case

Tom Ripley (Alain Delon, Le Cercle
Rouge) is a young man sent to corral the wealthy playboy Philip Greenleaf
(Maurice Ronet, Elevator to the
Gallows) into coming back to San Francisco from time in Italy. Ripley,
though, is not the simple peasant that he seems; he has designs on Greenleaf's
life, and when he murders him on an isolated boat, he begins a campaign of
impersonation that will leave him rich.

The Evidence

Perhaps it is simple jealousy that leads us mere mortals into suspecting the
worst of those lucky enough to have been born with extraordinary wealth or
extraordinary beauty. Purple Noon is only too happy to feed that feeling.
Philip Greenleaf is the worst sort of playboy. He's got too much money, doesn't
respond well to family obligations, and mistreats his lover Marge. He gallivants
off to Rome whenever he feels like it and his fidelity to Marge be damned.
Ripley initially seems like he might be his opposite—a poor but beautiful
companion who is a bit jealous of Greenleaf's riches but would prefer he do the
right thing. Then, of course, we learn that Ripley is a sociopath who wants to
take over Greenleaf's life. While Greenleaf's money masks his corrupt
personality, Ripley's beauty is similarly disingenuous.

The chief pleasure of Purple Noon is the game of cat and mouse we
watch unfold. First it's between Ripley and Greenleaf. In the novel it was made
completely explicit that Ripley had been hired by Greenleaf's father. Purple
Noon starts with us already in Italy, so even from the beginning, it's
questionable if Ripley is actually sent by the elder Greenleaf (and
Greenleaf's continual deferral of a return to San Francisco makes it difficult
for us to establish Ripley's bona fides). Greenleaf seems game to play with his
opposite, especially with Marge around to make things interesting, but it
becomes more and more obvious that Ripley is playing for keeps.

Once Ripley dispatches Greenleaf, the cat and mouse is between
Ripley-as-Greenleaf and everyone who might shatter the thin illusion that Ripley
is portraying. Though it's fun to watch Ripley make good his
impersonation—we see him practicing Greenleaf's signature and using his
typewriter to avoid detection—it's just as much fun watching him squirm as
mutual friend Freddy arrives in Rome hoping to find Greenleaf or when Marge
comes looking for her erstwhile boyfriend. Once the police get involved, it's a
more dynamic game that switches from tense waiting to all-out action that leads
to a conclusion that's satisfying (though not as bold as the one found in
Highsmith's novel).

Though the suspense aspects of Purple Noon are top notch, they're
aided greatly by Delon. He's young and gorgeous and totally convincing as a
young psychopath. His portrayal is perfect, as he gradually decides to become
Greenleaf and must navigate the world that he's initially outside of in the
hopes of fitting in. That world is beautifully photographed by Clément.
From the superb seaside villages to the piazzas of Rome, the whole film is
bathed in warm light and well-chosen locations. Even if you're utterly
uninvolved in the fraud perpetrated by Ripley, there's a joy in looking at the
beautiful Italian vistas.

This is René Clément's hi-def debut in the Criterion collection
(and, if I'm not mistaken, the first of his color films as well). All the stops
have been pulled out in preparation. It admit to a certain trepidation when this
1.66:1/1080p AVC-encoded transfer first came up. The opening shots on the water
looked a little noisy, like the grain wasn't being handled well. After those
first handful of shots, though, the transfer settled down into a thing of
beauty. Closeups, especially of Delon, are simply gorgeous. Detail is strong,
colors are spot-on, and grain is perfectly handed. Print damage is minimal, and
the transfer maintains an impressively filmlike quality.

The LPCM 1.0 French soundtrack isn't quite as impressive, but that's not the
fault of this Blu-ray. Dialogue (which is mostly in French, but includes some
Italian and English as well) is clean and clear throughout. No hiss or
distortion mar the soundstage, while the music is well-balanced. English
subtitles are included.

Extras include a series of interview. They start with a 1971 interview with
Highsmith discussing her characters, her stories, and the adaptations of her
work so far. Alain Delon appears in a 1962 interview talking about his film
career to date, including his work with Clément. Finally, the longest
interview is with historian Denitza Bantcheva, who talks for almost 30 minutes
on Clément's history as a director, the film culture of France in the late
fifties/early sixties, and the production of Purple Noon in particular.
The film's trailer is also included. The Criterion booklet includes an essay by
critic Geoffrey O'Brien and an interview with Clément.

The Rebuttal Witnesses

Purple Noon is not a fast film. It's kind of a slow-burn film that
uses its beautiful scenery to lull viewers into staying for its suspenseful tale
of fraud. Those looking for a The
Bourne Identity-like tale of deception and impersonation will be
disappointed

Closing Statement

Purple Noon is a gorgeous, and a gorgeously photographed, adaptation
of Patricia Highsmith's famous novel. The film rightfully made the beautiful
(and talented) Alain Delon a star, and fans can appreciate the film anew thanks
to this excellent Criterion Blu-ray. The film itself is worth a rental for fans
of Highsmith, Clément, or Delon, and the transfer and extras make it easy
to recommend for purchase to fans.